Bearings. Yarn wrapped in a cloth of thumb is used as the base xylophone keys. There are times when this material in the form of fibers wrapped in cloth.
Bara. Javanese dance decoration on clothing worn at the waist to the right and left. The shape is wide belt, approximately 40 cm in length, usually ornate beads and Ketep.
Benges. Dressing materials are red or pink color. This term is used if for coloring the lips (lipstick). Various gerongan with low tones sung with a high tone.
Blangkon. Headband made of fabric denganmotif batikyang manifold. Blangkon name comes from the word blank, which means the headband, it has been assembled or dipas such a way as to size of the head. This headband as the completeness of custom clothing man in Java. The development is now common for dance apparel.
Blencong. round tube filled with coconut oil, on the side of the existing pipe where the entry axis of benag, as a lighting instrument (sort of, a lamp) that hung in the middle of the curtain, just above the head dhalang on leather puppet show.
Bokongan. Clone of the buttocks so pantatnta look great. Clothes are usually used for men's role in the puppet or how to wear the same as dhandhan.
Guarantor. dressing materials or make up the wayang wong or dance that is yellow. Security is often also called scrubs, its function is usually to provide color throughout the body so that it becomes yellow. According to tradition dancers must have a yellow skin color.
Bloated. the dance or wayang wong dress made of paper which ermacam-kind color. The pieces of paper folded as a way, so after being tied up and assembled into a round-shaped small round, which is approximately 70-10 cm in diameter. The series of papers was prepared elongated roundabout approximately up to 2 meters. According to tradition, bloated as the completeness of Javanese traditional clothes bride who originally made from leaves. Derived from the word bloated bontel which means a variety of colors.
Tail. Artificial tail for the role of the apes. how to wear a belt worn on the back like a tail, the tip is connected to the Irah-irahan. For the danger of Yogyakarta style made of cotton fabric that is inserted in a round shape and length of approximately 1.50 m.
Lizard tail. kemanak place to hold a long-shaped and curved edges similar to the tail.
Cancutan. Often also called cawetan the way to the role of monkeys in particular berkain Yogyakarta style.
Cawi. sunggingan shape and inlay on the skin for clothes dance in the form of small lines like bentukl needle.
Eye Shadow. section than the eyelid that are colored black, so that more eyes look large or sharp.
Pants banners. Long pants dance about until below the knee.
Celuk. Introductions to the vocals, usually using the first verse or the last stanza of one song (see song).
Cemehi Samandiman. Whip carried by Wirayuda in dance Jathilan or braid horse Waterford.
Mobile. Kothak bat on leather puppet show. Mobile made of wood shaped like a stupa with a diameter of about 10 cm and 15 cm in length. In Yogyakarta, the mobile is made of brass or bronze that looks smaller, used as a bat kepyak with dijapit toes.
Ceplik. Often also called borokan, is thothok decoration consisting of one pair on the right and left.
Cindhen. Motif Sampur and pants pennants and other parts of the Yogyakarta style dance costume that basic colored red, blue, green, yellow.
Congoran. Sometimes called cangkeman, and serves as a mask, but only cover the mouth. To the front of the others given a dressing. Congoran Yogyakarta style used in Langenmandra Vanara.
Corekan. Make up face after the face given the basic, yaiu mustache, eyebrows, godhek and so forth.
Cundhuk teeter. Jewelry (see cundhuk mentul) that serves as cundhuk that looks like a comb or teeter. Jewelry is usually made of gold or imitation gold.
Cundhuk Mentul. Jewelry is usually for a princess. Jewelry is as cundhuk like flower shapes that can move like a pear or-mentul mentul Java language. Jewelry is worn in a bun garnish, the material is made of gold or imitation gold.
Dhadhan. Part dance as artificial dhadha seupaya looks great. This section is used for roles that wearing clothes, especially the role and the giant ape. Dhadhan is made of cotton wrapped in cloth, or with woven of rattan which is formed in such a way. How to use given a string and worn around the neck.
Dhampar. Chairs lined square ottoman for seating the king and the knights in the scene in the hall official in Javanese wayang wong dance drama (see wayang wong) Yogyakarta style.
Dhendhan. Logs are located on the right and left upper rancakan gender where there is a hole to insert a rope to stretch pluntur gender pitches. This is a tool fasteners Dhendhan pluntur. In the area of Yogyakarta, there is a similar form of headstone (dhendhan kijingan).
Dhingklik. Chair mat round ottomans for seating the knights in the scene in the hall official in Javanese wayang wong dance drama (see wayang wong) Yogyakarta style.
Dhuduk. Woman charged with delivering weapons menladeni take place such as a shield and arrows to the dancers Srimpi Yogyakarta style.
Dhuwung. Java Language Krama (high, smooth) for the keris which is the dance costume supplies Java Yogyakarta style which is also used sa gun fight. The role of princess wearing a dagger in front tuck on a belt attached to the abdomen, while the role of the son is wearing a dagger in front such as the gods, sages or hermits, but is generally worn tucked behind the belt. For the Yogyakarta style of leather.
Dhuwung Branggah. Keris selosongnya head shape (order) pointed next door. To dance Yogyakarta style dagger is used which is also used as a weapon of war. The role of princess wearing a dagger in front of the belt menmpel inserted in the abdomen, while the role of the son is wearing a dagger in front such as gods, receipts, or a hermit, but generally worn tucked behind the belt. For the Yogyakarta style of leather.
Dhuwung Gayaman. Keris which forms the head of the slug (order) blunt to dance kerisini Yogyakarta style worn by dancers dashing son.
Dodod.
1. How berkain. Fabric size smaller than the seam, about 4 meters long, 1.10 meters wide. In addition to dance apparel, in ritual imposed by the empress king's greatness, and the daughters of the king who was married. 2. Menthak cloth made from velvet fabric decorated with golden thread, is generally used in the gamelan panbuh Yogyakarta area.
Dolanan Sondher. Range of motion describing the left and right hand are playing (Dolanan) shawl (Sampur or sondger) contained in the fine and gallant son dance Yogyakarta style. This motion is used on the Kelana dance.
Dolanan Supe. range of motion of his left hand and right depict dancers playing (Dolanan) with ring (Supe) in Yogyakarta style dance. This motion is used in dance and Klana Marionette.
Gabahan. Guided part of the eye makeup of the wayang kulit form, like grains of rice. The role that has the shape of the eyes as this is usually fine characters, like Arjuna, Krishna, Rama and so forth. grain means 'grain'.
Gada. Weapons of war dance Yogyakarta style gallant son of battering. In Yogyakarta shaped paddle which has three flat sides.
Gadhung Mlati. Motif color or color combination that is often used in dance costumes, among others, to fabric, Sampur, headband, tank top and so forth. Colors consist of white and green.
Bun. Irah-irahan or close a motive such as hair ornaments bun or curved backwards. Irah-irahan inibiasa used a figure of both gallant knight and smooth. Examples such as Arjuna, Bima, Gathutkaca, Hanuman and others.
Bokor bun. Hairpin motif that is used in dance Bedhaya or Srimpi, especially Yogyakarta style. Named bight knot shape resembles a bowl because the bowl or the bowl where the water or vegetable.
Bend your bun. Hairpin motif that is used if an adult daughter who had entered the palace. how is equipped with a cloth wearing a tank top or semekan. The development is now often to sanggulan the types of dance.
Gendreh. Motif batik cloth that forms paranganya lereknya or smaller than the machete damaged. Usually used to the role of Arjuna, Puntadewa and so forth.
Gendring. Slawatan kind that many in Bantul. Dance is a fan brought KITAP called tuladha or tldha, which was read by dhalang. This folk dance serves as a ceremony of maturity such as circumcision, or also kaulan. This dance is not the kind of public spectacle, because the present senua danced. This dance is accompanied by the music fly.
Gimbalan. Type-irahan Irah wigs made of long and only given zamang only. Irah-irahan rekasasa role is especially used a giant trash or not the principal role in the puppet.
Lipstick. Materials makeup or makeup that red or pink color, which is used for coloring the cheeks to make it more visible or prominent young.
Godheg. Artificial hair on the face of the ear under the forehead, by way of makeup. In the Wayang Wong this shapes godheg vary according to their character.
Godheg Ngundhup Turi. Bentuknyaseperti turi flower buds that are still yet to bloom. In the Wayang Wong godheg form is for fine or to female characters.
Godheg Pengot. Shaped like a knife or similar pengot. In wayang wong or fingers of this type, for gallant or hard character.
Grompolan. Sumping ornament mounted on a headband made of buffalo skin tepen or sapai, small shape like a flower ..
Halup-halup. Basic makeup, usually white. This term is often used in a way makeup Yogyakarta Wayang Wong particular style.
Iket Kodhok Bineset. Headband or blangkon but the top is open, so that after use the top of the visible hair.
-Ilatan physical defect. Part of mekak. Called-ilatan physical defect because it resembles a long tongue, used in the middle of the chest extends downward to cover the function buttons or straps mekak.
Stitches. How to make up the eye for this type of dance Bedhaya Yogyakarta style. The shape is based on the face of all the scrubs, but in the eyes not around, so that the eye shape that can njahit.
Zamang. Terbuaat headdress of buffalo or cow leather, carved and disungging or dinada and given kepet, nuts such as lobes or necklace. This ornament is the unity of the Irah-irahan. Motif zamang variety by type Irah-irahannya or character.
Janget. Same with jenjetan, except that the material is made from cow skin that is formed flat at approximately ½ cm, often there is a round flat there is a square.
Januran. Zamang form or sumping often called zamang or sumping pundhak setegel. Roles in the wayang wong using this form, among others, Bhima, Hanuman, and other Ontorejo sebaginya.
Arrow. Javanese Krama (high, smooth) for Yogyakarta style arrow that the bow and some arrows into one. Use the arrow in the war sunguh not really, because the arrows can not be separated from his bow when fired, but only cause noise thek.
Alus Impur. This type of dance style fine son of Yogyakarta to knight a smooth and humble like Arjuna, Rama, Admiral, Panji and Darmawulan. Arm motions rather open, many use symmetrical arm design and use Sampur. This type of dance is also often just called impur.
Alus Kalang be all white. This type of fine son Yogyakarta style dance to the subtle but dynamic knight such as Salya, Bhishma and Wibisana. Arm motions rather open, many with asymmetrical design and the use Sampur. This type of dance is also called clumsy be all white
Andhe-andhe Moss. Folk dance dramas that are emerging in Bantul and Kulon Progo. This dance drama contains stories Andhe - andhe Moss. Namely Panji stories. The show was accompanied by a set of gamelan tunings slendro or pelog. Oelh formerly danced only male dancer, but perkembanan now is not the case. Motion dance got influence from wayang wong, especially Yogyakarta style. The dancers delivered the dialogue with the form of sung poetry and prose.
Apit Ngajeng. The first dancer from the audience right pad first row of the assembly Bedhaya Yogyakarta style.
Apit Wingking. The first dancer of the right audience on the third row of the assembly Bedhaya Yogyakarta style.
Bedouin. Rodhat kind that are emerging in the area of Sleman. Anatar dancers 20 to 80 people each pair. Dancer-dancers carried a fan and a broom tanga. Dialogue that was delivered in the form of singing and sholawat with language support as well as Indonesian and Javanese. Motion dance performed by a standing position. Each switch gerakn with tents whistles sounded by the leader of the dancers. Bedouin Dance of Sleman never get the first prize at the festival of folk dances of Indonesia in Jakarta in 1977.
Ballet, Ramayana. Yogyakarta dance drama without dialogue that bring the story of the epic Ramayana. The term ballet comes from French, ballet has the same meaning as the term ballet. The word ballet widely used by groups who organized the Ramayana dance performances for tourists.
Bango Mate. Variety ngruji motion with his left hand, right hand nyempurit. Like the motion of a bird bango. This motion contained in the Yogyakarta style dance princess.
Student Build. A kind of Cobra Students, in the midst of a demonstration pertujukan acrobatics. The show consists of playing on the torch on top rope stretched at the two ends of the bamboo height of approximately fifty feet.
Bapang Dhengklik Keplok Asta. This type of dance style gallant son of Yogyakarta to the role of giant-pranan armies. Shows the characteristics of motion dhengklik said one leg lifted up and set with knee bending and pressure. For the armies of giant used the hand position is called keplok asta which means "clap hands"
Asta Keplok Dhengklik Bapang Smear Rawis. This type of dance styles Yogyakarta khusu gallant son to the giant genie who have no good character.
Bapang Kentrog. This type of dance style gallant son to dance Bugis khusu Yogyakarta Yogyakarta style. Motion-motion based on Bapang, but coupled with the motion kentrong ie jumping up and down movement on one battery.
Sekar Bapang Suhun Dhengklik. This type of dance style gallant son of Yogyakarta to roles giant king or prince giants like King Newata Kawaca and Kumbhakarna. Sekar suwun is the name of the arm position that is always pointing up and another pointing diagonally downwards. Shows the characteristics of motion dhengklik said one leg lifted up ditapakan with bending and pressure.
Bapang Ukel Asta. Type Yogyakarta style gallant sons specific to the god of character humor that is Bathara Narada.
Barong. Jathilan or animal figures in Incling. Barong is often called Barongan is danced by two hooded men or bagor cloth, so that the shape of a large animal. One person was in front to move his head, was only behind the buttocks and wiggled his tail. This Barongan big-headed beast with a big mouth, but no clear type animals.
Batak. Dancer second from right audience in the middle lane of the assembly Bedhaya yogyakarta style. Together endhel pajeg, vagabond dancers play an important role in the story that was delivered by Bedhaya. In a telling Bedhaya Srikandhi Meguru Manah, this Batak dancers who acted as Srikandhi, while dancers endhel pajeg role as Arjuna.
Beber.
1. Type puppet show how spread a cloth that has been painted with pictures of puppets and has dibri color, taking the story of Panji cycle. Wayang beber is still there in the Village Panung Pacitan, East Java. 2. How to offer at the show with the sounds of gamelan ngamen kendhang such a way as to be known by the general public for menanggapnya.
Bedhah Earth. Dancers on the dance tayub ngibing first, usually at a ceremony that started the clean village is dancing ngibing host. Bedhah earth has a symbolic meaning, namely to do intercourse, bedhah mean open (njebol) yatitu dancer son, is the earth's land means that it is a symbol of dancers putrinya.Upacara soil fertility in the village clean time after harvest.
Botoh.
1. Two interpreters separator or referee on the dance Lawung berfumgsi Yogyakarta style as a giver aba training when the war begins and ends as well as lead the way exercise. Botoh using a type of dance prop gallant son of the king be very special. 2. Gamblers.
Arjunawiwaha, Bedhaya. Bedhaya Yogyakarta style of processing results from Kawedanan Raden Lurah Sasmitamardawa hageng clown-servants Krida Mardawa Sultan Palace in 1976, taking the story when Arjuna meditated in Indrakila with all sorts of temptations to kill Niwatakawaca for later crowned king of fairies. Accompaniment gendhing Ranumanggala, pelog nem.
Dewa Ruci. Bedhaya. Yogyakarta style of dance composition Bedhaya compiled by Sudharsono Pringgobroto in 1946, which was first staged at the opening of the University of Gadjah Mada University in Yogyakarta. Costumes, dance techniques, as well as the amount equal to Bedhaya classical dancers, but the theme is brought Dewa Ruci story, an episode in the epic Mahabharata which describes the event when the Milky Way is being tested by his teacher, that is Durna, to search for living water in the bottom Samodra. After all the hurdles can be overcome, the Milky met Dewa Ruci which gave a good clue-opetunjuk.
Laleha, Bedhaya. Bedhaya with accompaniment gendhing Laleha and is one of the era of Sultan Hamengkubuwono creation Bedhaya VI, taking fiber Harjunasasra when the war against Sumantri.
Sexual intercourse, Bedhaya. Gendhing Bedhaya using sexual intercourse as a retinue, and was created at the time of the Yogyakarta Sultan Hamengkubuwono VII. This dance romance contains a meeting of Mataram by Senapati Panembahan Kajeng Queen of South on the coast of the South Sea (Indonesia Ocean).
Manten, Bedhaya. Dance composition Bedhaya Yogyakarta style that describes the process of the marriage ceremony according to Javanese tradition, created by Sultan Hamengkubuwono IX in 1943. Dance technique and dance clothes like Bedhaya others, but the dancer is only of six people.
Pickaxe, Bedhaya. Bedhaya order gendhing accompaniment: Ketawang pickaxe gendhing kemanak Ladrang Kembangpepe in larasd slendro pathet manyura.
Prabudewa, Bedhaya. Bedhaya ciptaaan Sultan who later in the time of Sultan Hamengkubuwono VI reprocessed, as well as heirloom Bedhaya awarded in the Duchy.
Revolution, Bedhaya. Yogyakarta style of dance composition Bedhaya compiled by Sudharso Pringgobroto in 1959. Theme brought menggambarklan sequence of events initiated Indonesia's history since the Dutch colonial era until the time of the restoration of security in 1950 that describes ririskiky symbolic. Bedhaya Revolution also brought by the nine female dancers, but the princess is wearing her clothes on wayang wong Yogyakarta and style makeup and bridal makeup daughter of his head using Yogyakarta.
Sapta, Bedhaya. Bedhaya dance composition prepared by Tumenggung Purbaningrat in forties, danced by seven female dancers. Bedhaya Sapta (Sapta means seven) mengisahksn story of when the Sultan Agung (1613-1645), king of Mataram III makes the boundary between Mataram with Pasundan.
History Taman Siswa, Bedhaya. Dance composition Bedhaya Sudharso Pringgosubroto compiled in 1952, describes the history of College Student Park in 1922 with the character Ki beat Dewantara. Costumes, dance technique and the amount equal to Bedhaya classical dancers, only just a new theme.
Begalan.
1. Folk art that flourished in many areas of Banyumas. Contains folk art discourse-the discourse, so that the show often to enliven weddings. Major emphasis is that the dialogue, is gerask simple and spontaneous dance-influenced dance movements of Javanese and Sundanese dance. The contents of the story is unclear, only consists of two dancers, yatitu as a hijacker and a dibegal, as a symbol between good and evil. 2. In wayng skin is a war of flowers, the war that happened after trouble, namely the war between a knight against a giant who is usually called blind robber.
Beksa Alus. Fine son dance technique used in Yogyakarta style to the role of fine-knight role of the Mahabharata, Ramayana, Panji and Darmawulan like Arjuna, Krishna, Rrama, Admiral, Panji, Darmawulan and others. Typical of smooth type son is a position open toe low, medium step, removal of lower leg, arm position slightly open, his movements slow motion except in war. Beksa Alus, Javanese Krama (high, smooth) of Alus Joged typically performed by men who are somewhat slim-boned.
Beksa gallant. Gallant son dance technique Yogyakarta style that is used for roles gallant knight of the epic Mahabharata, Ramayana, Panji, Darmawulan and so on, such as Bima, Balarama, Ravana, Klana, Sewandana, Menakjingga and so forth. Typical type gallant son is an open leg position rather quickly. beksa gallant, Javanese Krama (smooth, high) of the gallant Joged typically performed by men who boned sturdy and tall.
Princess., Beksa. Yogyakarta style princess dance technique that is used for dance Bedhaya, Srimpi, doll and female roles in a variety of Javanese dance drama. Cir typical type of dance is the daughter of a closed foot position, very small step, arm position rather closed, small head movements without pressure, bending-bending limbs are not sharp, motion-slow motion. Beksa daughter usually danced by women, except before 1918 for the doll and daughter roles in the wayang wong, and Langen Mandrawanara Langendriya performed by male dancers who are still teenagers, boned slim and flawless.
Bindi.
1. Weapons of war in the Yogyakarta gallant son dance in the form of a cylindrical bat. 2. Tabuh (battering) Bonang, Kethuk, Kempyang and Kenong.
Bliu Tau. How wrong belajarmemainkan atu misalanya gamelan instruments fiddle but without the right method, usually just by listening and imitating.
Gabion wire. The attitude of the hands of such people eat rice without using a spoon or fork, which uses the fingers to pick up food. Attitude seems rigid done so.
Bugis. Yogyakarta-style partner dance compositions are performed by one or two pairs of dancers, using a type of dance that gallant son of Bugis is typical for this kentrong.Tari Bapang estimated born outside the palace in the 19th century, depicting the soldiers of the tribe Buginese of Sulawesi South who were practicing war.
Knapsack. Dancer number 7 on the middle lane of the assembly Bedhaya Yogyakarta style.
Cakilan.
1. Type giant dance. 2. Small round bamboo about two-thirds the size cm in length two and a half inches, was used as a means of retaining gender pitches, tied to the pluntur slenthem.
Cancutan. Often also called cawetan the way to the role of monkeys in particular berkain Yogyakarta style.
Canthang Balung. One of the dancers on the dance doll gambyong. Canthang cockscomb an antagonist and is described as a unique character.
Cekehan. Movement of horses feet on the dance braid, which is run by foot or mendhak modestly, but the time is going to step foot lifted slightly high with a little jump. This movement can be carried forward and rewind, slow rhythm.
Cepet. People in the dance Jathilan or Incling who wore masks cover the entire face. In this show there are two dancers, namely cepet lanang black mask and white mask cepet wadon. The two leaders are also often called Hurry or Kecepet.
Cindhil Ngungak Tumpeng. Range of motion mimicking a baby rat (cindhil) who saw a flash (ngungak) pile of rice (cone). This motion contained in Yogyakarta dashing dance or role that would be disrespectful.
Notices Budhaya. Private dance education organization style Yogyakarta in Yogyakarta that is no longer active.
Coklekan. Bending motion of the head to the left or right side of the dance styles of Yogyakarta.
Gallop. dance dance movement in horses similar to the motion drap braid (see drap), but does not bend his legs straight, slightly slower rhythm than drap.
Congoran. Sometimes called cangkeman, and serves as a mask, but only cover the mouth. To the front of the others given a dressing. Congoran Yogyakarta style used in Langenmandra Vanara.
Contemporary Dance School Wisnuwardhana. New creations dance education institution founded by Wisnuwardhana private (see Wisnuwardhana).
Cundrik. Prop dance as a weapon of war, and shaped like a dagger, but without a sheath. Prop dance is usually used for the role of women, especially in the Wayang Wong or dance style of Surakarta.
Damarwulan. The story of historical art from the original Java depicting a knight named Damarwulan who are willing to defend the kingdom of Majapahit to the rebel Duke of Blambangan Menakjingga. Damarwulan managed to kill Menakjingga, and to preserve his love with the Goddess Anjasmara, daughter Patih Logender of Majapahit. This story is the theme of the dance dramas of Java Yogyakarta style opera called Langendriya. Damarwulan also frequently staged in the new dance drama called ballet.
Deder Sampur. Sampur who worked as arrows superimposed on the left arm, and pulled with a finger right hand.
Dhadha.
1. Dancer number 6 on the middle lane of Bedhaya assembly (see assembly Bedhaya) Yogyakarta style. 2. Name of tone in the gamelan (see gamelan). For ordinary recording is replaced with the number 3, for the barrel and barrel pelog slendro.
Dhadha Mungal. Chest (dhadha) raised to the top (mungal). This position is a good chest position on the dance style of Yogyakarta.
Dhuduk. Woman charged with delivering weapons menladeni take place such as a shield and arrows to the dancers Srimpi Yogyakarta style.
Drap. Movement of horses feet on the dance braid in Waterford area, the movement run by kakai lifted a bit high and bent, fast rhythm.
Sitting Wuluh. range of motion contains the left and right with the motion ngoyog to the side, ending with the left arm diagonally pointing straight down, right arm bent in a position like hips. This motion contained in the Yogyakarta style dance princess.
Ebeg. Emblek kind that flourished in the area banayak Banjarnegara. The dancers ride a horse braid with a sword, usually wearing glasses that various colors. at the climax of the show were also held war games with mirror glass that reflects the light, atahari addressed to his opponent.
Emblek. Jathilan kind of Kedu in the mountains. Players consist of 7 members, six dancers who berpasanga braid horse-pairs, one as a leader. The show with war and war games with the glass that reflects sunlight, addressed to his enemies. Usually they were dancing round and round until there is no conscious and possessed by spirits (ndadi).
Encot. Motion throughout the body down after a stop is moved back to the top. This motion contained in the daughter and son dance smooth Yogyakarta style.
Asta-encot Encot. Variety encot footwork that diakkhiri denganlengan aligned diagonally to bottom right. This motion contained in the Yogyakarta style dance princess.
Pajeg, Endhel. Dancer number 3 on the middle lane of the assembly Bedhaya Yogyakarta style. Together these dancers hobo plays an important role in the story that was delivered by Bedhaya. In narrating Bedhaya Srikandhi Meguru Manah, this pajeg endhel dancer who acted as Arjuna, while the dancers act as Srikandhi hobo.
Wedalan Ngajeng, Endhel. Dancer number 2 on the third row of the assembly Bedhaya Yogyakarta style.
Wedalan Wingking, Endhel. Dancer number 9 on the third row of the assembly Bedhaya Yogyakarta style.
Endraya. The attitude of the left hand ngelak dragon in a position in front of the navel. While the right hand with the attitude Mangap ambaya hand on his back with his fingertips touching the right hip.
Engkrang. Range of motion left and right hand with the position Sampur Sampur nyanthok and then thrown out. If the motion is followed by a lift and bend your left leg is called engkrang Kiwa. and if the right leg raised and bent called engkrang Tengen. Engkrang used to smooth and handsome son of dance styles in enjeran Yogyakarta, which is the preparation of a war dance.
Engkrang Mlampah. Variety engkrang movement that coincided with stepped foot. This motion contained in the fine and gallant son dance Yogyakarta style.
Enjeran. Dance preparation and heating at Yogyakarta style war dance composition. Enjeran second part of the whole war dance composition that consists of four parts, namely forward gendhing, enjeran, war and retreated gendhing.
Sampur groaned. Motion sindhen mimicked, with the cover lips and use Sampur as a lid.
Erek. A motion if it will be at war within a kind of dance Jathilan. Before the war horses are usually two dancers use movement erek braid, which is like spinning a circular composition.
Etheng, Beksan. Composition of pairs Yogyakarta style dance group that danced by male dancers 12 people, which was created by Sultan Hamengkubuwono I in the 18th century. This dance is a war dance performed by three groups of dancers, the dance group that uses a type of fine son of 4 people who pitted his strength, which use a type of dance group gallant son of 4 people as the complainant, and the comedian group consisting of 4 people as well.
Impur gallant. This type of dance style gallant son of Yogyakarta for gallant knight, but false in behavior such as King Suyudana and Patih Udawa. Open arm movements, many use symmetrical arm design and use such as on the type of dance Sampur son impur Alus. This type is also commonly known as clumsy impur.
Kalang be all white, handsome. This type of dance style gallant son of Yogyakarta to gallant knights and aggressive as Suteja, Sentyaki, Indrajit and so forth. Open arm movements, many use symmetrical arm design sertamenggunakan Sampur. This type of dance is also often simply called a loop be all white.
Kalang be all white king, handsome. This type of dance style gallant sons of the kings of Yogyakarta for gallant and aggressive as Balarama and Ravana. The principle of motion together with stout prop be all white, but there is little disorder in his left hand movements. This type of dance is also often simply called a loop be all white king.
Flowers, gallant. This type of dance son gagahgaya Yogyakarta to knight gallant and honest and steadfast stance as Bima, Gathutkaca Yogyakarta style, Antareja and Antasena. Open arm movements, many use symmetrical arm design and use hand positions ngepel without Sampur. This type of dance is also commonly called kambeng.
Gajahan. Range of motion with one arm bent upwards until the hand near the ear, the other arm diagonally downwards done alternately left and right. This motion is used in dance son Yogyakarta style.
Elephant Ngoling. Range of motion of both hands above the right ear and left like an elephant who was ngoling (stretched) by waving its trunk upwards in Yogyakarta style dance. This movement used in dance and Srimpi Bedhaya.
Gambyong.
1. The name of one of the dancer's role is in Gambyong Marionette dance. 2. Name of bonang carabalen gamelan tones.
Gambyongan.
1. Name of suatubentuk gendhing. 2. A form of rhythm in the Javanese gamelan.
Gapruk. Motion clashing weapons that typically mace, sword or spear in the war dance style gallant son of Yogyakarta. Gapruk meant to clash.
Gebesan. Motion braid horse's head on the dance-like pacak Gulu, a simple motion of the head is moved to the right and left, along with moving the horse's head braid.
Gedheg. Shook his head to the left and right on the dance son Yogyakarta style. Head movement is usually used by a masked roles for face seems alive ..
Gedrug. Motion stamped one foot left or right to the floor with the tip of the foot behind the other leg on the dance daughter and son fine Yogyakarta style. If the left leg snapped named gedrug Kiwa, and when the right leg snapped named gedrug Tengen. Kiwa means left, Tengen mean right.
Degree. The classic war strategy widely used in classical dance dramas such as wayang wong Yogyakarta style. This title is diverse, including degree Garudha nglayang that shape their formation such as the eagle that was flying, a form of degree Emprit Neba emprit formation like birds in large quantities that are flying, degree Wulan Tumunggal a curved shape like a moon formation just stepping on the first day, Meta Dirada degree of shape formation like an elephant who is angry, and others.
Gendhewa. Bows and arrows, which is part untukmelepaskan arrows. In the wayang wong gendhewa often brought untukmenunjukkan that that brings is a knight.
Genjotan. Motion big step to the left or right side accompanied by tekanan.Gerak have the gallant son dance Yogyakarta style.
Genjring. The name of the instrument, shaped like a small aircraft but on the wood was given a hole to put the thin metals. Genjring also called tamper or triangle.
Genukan. Same with grimingan. This term is generally used pedhalangan Yogyakarta.
Gidrah. Range of motion that ends with right and left hands together in front of the abdomen. This motion is used in the Yogyakarta style dance princess.
Gladhi Clean. This term is used to refer to the last exercise as a preparatory stage or dance performances. According to tradition the role of son to wear pants pennants, cloth sapit urang (can also use ordinary wiron cloth), coal belt buckle dictionary, kris, without clothes, udheng. As for the daughter with a cloth, kebaya, buckling or ukelan ordinary bun.
Asmaradana, Marionette. Type of Yogyakarta style puppet dance to the accompaniment gendhing Asmaradana.
Swing-swing, Marionette. Type marionette dance to the accompaniment gendhing Yogyakarta style swing-swing.
Marionette Surenggraha. Type of Yogyakarta style puppet dance to the accompaniment gendhing Surenggraha created Tumenggung Purwadiningrat in 1967 and is the oldest Marionette in Yogyakarta.
Segara thunder. Composition of pairs Yogyakarta style group dance performed by four dancers son, using a type of dance gallant son. Dance depicting the war between the two pairs of these knights were created by Sultan Hamengkubuwono I in the century - 18. Both pairs of knights Ittu Jayasena who is danced by both men and Guntur Segara dancer who danced by two dancers, too. The two knights who fight it are the characters from the Panji stories.
Impang Gout. Range of motion with his right foot crossed the left leg, which ended with encot footwork. This motion contained in the Yogyakarta style dance princess.
Impang Lembehan. Range of motion right dengankaki crosses left foot, with hand gestures followed by pitch (lembehan). This motion contained in the Yogyakarta style dance princess.
Impang Ngawer Udhet. Range of motion right dengankaki left hand crosses the left foot forward with a variety ngruji position, right hand holding the udhet (belendang) with upward movement digerak dank-e bottom. This motion contained in the Yogyakarta style dance princess.
Indra. The motion on the dance style Bandabaya Paku Alam where repeatedly done in the same attitude that is your right foot stepping left foot gedrug followed by the right heel. While the left carrying shield near the waist and the right to bring a sword, straight arm and thigh near the sharp sword straight at the top.
Row. Four dancers on the dance Lawung son Yogyakarta style with the status as a soldier. Row using a type of dance Bapang son.
Jongko Ngilo. Range of motion reflect on the smooth dance style and dashing son of Yogyakarta style is done with his left hand holding Sampur with miwir position and right hand nyempurit.Jangko means "high", ngilo means "mirror". This motion is used in the preparation of enjeran yangmerupakan war dance.
Tall Miling. Range of arm movement with mencangkolkan Sampur on the left and right elbow followed by a motion of the head called miling. This motion contained in the Yogyakarta style dance princess.
Jaran pounder. Dancer horses in dance Dhoger braid that serves as the main dancer. Usually dancers are dancers dhadhak peacock until ndadi, after consciously kept changing dance lesson pounder also to ndadi.
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